/"" \ /O 






REDEMPTION 



OF 



DAVID BROWN 



PAUL J. MERRILL 



Ctpyiltkt. 1917 kj PJJicniil 
Tht Nnre Pirai, Crtwetl, T«nM. 



.^OV 1619(7 



THE REDEMPTION OF DAVID BROWN 



A Comedy Temperance Drama in Three Acts 

By Paul J. Merrill 



SYNOPSIS 

Act I Scene 1. — In Rev. Claxton's study, Eight P. M. 

Scene 2. — The same place next morning. 
Act. II Scene 1. — In the same place six months later. 

Scene 2. — Midnight the same night. 
Act III In the same place the morning after the last scene. 

CAST 
As played at the Opera House, Smithfield, Texas, Jan. 30, 1915. 

David Brown, A human castaway Paul J. Merrill. 

Grace Claxton, adopted daughter of Rev. John Claxton .... Mary C. Euless. 

Rev. John Claxton, a successful preacher Beryl Prince. 

Mrs. Claxton, his wife Mayme Crane. 

Deacon Wheezer, a piller of the chruch Holland Turner. 

Mrs. Wheezer, the deacon's boss Mrs. Hugh Gilbert. 

Amos, an aged negro servant D. Q. Brown, 

Mary Ann, his wife Edith Naylor. 

Marie, a French maid Josephine Wilson. 

Dr. Thurston, a friend of the family Hurbert Phillips. 

All the scenes are in Rev. John Claxton's study and the only changes 
to be made are in moving the chairs in the different scenes. The stage 
setting can be arranged to suit local conditions. 

Properties — Couch; desk with drawer; book case with books; tele- 
phone; pedestal for flower pot; flower pot; duster; vase; rocking chair and 
two straight back chairs; piano or organ; pictures, rugs, etc.; doctor's med- 
icine case; bandagges for head and arm; sling for arm; small medicine bot- 
tle for brandy; wash pan; glass and spoon; writing material; bottle of com- 
munion wine; desk bell. 

The costumes are modern. The first act is in the winter and the 
other two are in the summer and the costumes can be arranged to suit seasons 



THE REDEMPTION OF DAVID BROWN 



Act I. 

Scene I. — Rev. Claxton is discovered seated at desk writing. Thunder 
and lightning out side. 

Claxton — "My, w^hat a night this is. — I shoudn't wonder if the goblins 

are abroad in it if there are such things as goblins — now, lets see — (lays 

aside paper) — so much for that" (continues writing) 

(Enter Amos, excitedly) 

Amos: "Law me marse John, what you reckon I done foun' now?" 

Claxton: (Without looking up) "What is it Amos, a goblin?" 

Amos: "No suh 'taint, leastways if 'tis er goblin I sho speck hits er 
daid one, cause hit's jes er layin' dar wid hit's mouf open an' hit's eyes wide 
open an' de blood jes er runnin' outen it's haid, an' when I tech it hit didn't 
move er bit, an* it feel jes as cold as ice. I seen it when de lightnin' flash 
an' marse John ? 

Claxton: (looking up) "What on earth are you talking about Amos^ 
what's lying there with its mouth and eyes wide open and the blood running 
out of it's head, what are you talking about anyway?" 

Amos: "Hit's er man marse John, 'fo Gawd dats jes what 'tis. 

Claxton: "A man, where?" 

Amos: "Right out dar by de front gate. I stump ergin 'im when I 
come in from de deakin's whar you sont me wid dat air not." 

Claxton: "A man out there on such a night as this, bring him in Amos, 
get Mary Ann and bring him in at once, he'll freeze to death out there on 
such a night as this." 

Amos: (going towards door) "Yes suh, yas suh et he ain't already 
done daid — Mary Ann, er Mary Ann, wha dat trifflin' nigger nohow, you 
Mary Ann, come here quick." (exit) 

(Claxton rings bell on table then paces study impatiently) 

(Enter maid) 

Claxton: "Tell Mrs. Claxton to come here at once please." 

(Exit maid) 
(Enter Amos and Mary Ann bearing between them a man dressed in ragged 

clothing with blood on his forehead) 

Claxton: "Bring him on in Amos — My! lay him on the couch." 

Amos: "I sho b'lieve he's done daid." 

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Mary Ann: "Shet your mouf nigger, don't you know when er man's 
done daid his heart done stop beatin' an' when de heart done stop beatin' 
how de blood gwine ter run lak dis, huh?" 

Amos: "Dat's right Mary Ann, you sho is right 'bout dat." 

Mary Ann: "What you reckon done happen to 'im marse John?" 

C: (going to couch and leaning over patient) "I don't know, he seem.s 
to have met with an accident of some kind. Bring me a pan of warm water 
and a rag Mary Ann — be quick about it (exit Mary Ann) Amos you 'phone 
for Dr. Thurston and tell him to come here as quickly as he can," 
Amos goes to phone and rings) 
(Enter Mrs. Claxton) 

Mrs. Claxton: "You sent for me John? — (sees man on couch) oh! what 
is the matter?" (goes to couch and holds conversation with Claxton) 

Amos: (at phone) "Hello, dat you Dr. — what's dat — Central, well what 
you doin' buttin' in on de line — (enter Mary Ann with pan, stops and listens 
to Amos) does I want Dr. Thurston, course I wants him else wliat you reckon 
I'm doin' here yellin' my haid off fer — what's dat — give you de number — 
well don't you know what 'tis — (hangs up receiver) well if dat don't beat all, 
dat fool central ain't got er bit er sense." looks into book) 

Mary Ann: "Huh, looks lak you de one dat ain't got no sense." 

Claxton: (rising) "Give the pan to your mistress Mary Ann." 

Amos: (looking excitedly in book) "A — b — ab — (turns page) g-o-o-s-e 
goose — dat ain't it." 

Mary Ann: "naw, but dat's what you is." 
(Claxton goes toward phone, Mary Ann gives pan to Mrs. Claxton.) 

Claxton: Give me the book Amos, you mean alright but you can't find 
Dr. Thurston's name in the dictionary." (calls for Dr. and requests him to 
come) 

Mrs. Claxton: "Come here John." 

Claxton: (going to couch) "What is it." 

Mrs. Claxton: (rising) "Smell." 

Claxton: (smells patients breath) "Whiskey, I thought as much, (af- 
ter a moment) Where is Grace?" 

Mrs. Claxton: "In her room studying, shall I call her?" 

Claxton: "No, see that she knows nothing of this for it will only up- 
set her, Mary Ann, you prepare the bed in the vacant room and build a fire, 
we must pull him thru this if we can. Amos you wait at the door for the 
doctor and show him in as soon as he arrives." 

(Exit Mary Ann and Amos) 

Mrs. Claxton: "Now John tell me all about it." 

Claxton: "There is not much to tell, as Amos was coming in from 
the deacon's where I had sent him with a note he found this man lying out 
by the front gate in an unconscious condition and I had him brought in here. 
There is some foul play connected with it, of that I am sure for no ordinary 
fall could have produced the blow this man received. He was intoxicated too, 
of that I am equally sure, beyond that I know nothing." 

Mrs. Claxton: "Poor man, we must do all we can for him. Look at 



his clothes they are almost rags. How fortunate it was that it happened 
here at our gate and that Amos found him before he froze to death." 

Claxton: "Rather you should say how unfortunate it was that it hap- 
pened at all, I am positive that drink was the cause of it. (paces study) 
Whiskey, what a detestable name; whiskey, it has a sound like the hiss of a 
serpent, Oh God, will men never know its sting until after they have felt it; 
will men never realize the misery, death and destruction it carries in its 
wake until after its storm has apssed. Look at this poor man — what is he — 
simply a human derelict tossed hither and thither upon the sea of \vrecked 
livey, tf/ssed by a consuming, overwhelming pqssion that is mightier far than 
the mighty engines that propel the great ships across the Atlantic. Whiskey! 
Whiskey!! I would to God that I could gather it all into one great mass and 
cram the damnable stuff back into the depth of the bottomless pit from 
whence it came." 

Mrs. Claxton: "Don't John, you are only working yourself into use- 
less excitement." 

Claxton: "Alright dear, only I feel like turning the world upside 
down when I think how foolish and simple minded a man must be to allow 
himself to be made a tool of the devil and become his assistant in carrying 
on his hellish work here on earth." 

Mrs. Claxton: "Yes, but I suppose such things must be. As long as 
time lasts there will be weak men and there will be strong ones; and ever 
must the weak man become the victom of his own y/eakness and always will 
will the strong man become the conqueror. But I believe it's man's own do- 
ing — God has given to every man a will power and an understanding and if 
man chooses the downward road whose end is DESTRUCTION, then de- 
struction must be his. But Oh John, if only the strong men, the men who 
stand for something could be brought to realize the importance of their 
strength, and could be made to understand that they are their weaker broth- 
er's keeper how much unnecessary pain and anguish could be avoided and ul- 
timately how many more strong men there would be." 

Claxton: (catching Mrs. Clax hands) "If all men were like you little 
women there would be no pain and anguish, for your very presence is stronger 
thening food even for a strong man and as for a weak one it is nothing less 
than salvation. As for this particular one, you and I must both show our 
strength, for somehow I feel that his salvation is in our hands." 

(Enter Amos) 

Amos: "De doctor done come suh." 

Claxton: "Alright Amos, show him in here." 

(Exit Amos) 

Mrs. Claxton: "Shall I remain?" 

Claxton: "Yes, way need you." 

Amos.: (outside) "Yes suh, he sho was er sight, jes er layin' dar wid 
de blood er runnin' outen his haid, an' his eyes wide open an' his mouf wide 
open, an' when I fetch 'im in here he jes — " 

(Enter Dr. Thurston followed by Amos) 

Claxton: (shaking hands with doctor) "I am glad you came Dr. I am 



afraid we have an ug-ly case on our hands." 

Dr. T. (going towards Mrs. Claxton and proffering hand) "And how 
are you? I see you are the same good Samaritan you always were, (places 
case on table and hands coat and hat to Amos. Goes toward couch) And now 
the patient, (bends over and examines him) Ah, I can find no fracture, in fact, 
it's nothing but a heavy blow from some blunt instrument, (goes to table and 
opens case) A little warm sweetened water please, (to A.) (exit A.) Do you 
Vnow whom he is? (to Clax) 

Claxton: "No, I have never seen him before." 

Dr. Thurston (taking bottle from case) "Well we'll bring him 'round 
alright and he'll be none the worse — except probably — a sore head." 
(Enter Amos with glass and hands it to Dr.) 

Amos: "Here dat warm sweet water, suh, jes zactly what you axed for 
suh." (Exit Amos) 

Dr. T.: (pours something from bottle into glass, advances to couch) 
"A little brandy, he must have something to strengthen him you know." 

Claxton: "Is it best — You know he — ." 

Dr. T. "Yes it's best — I know what you mean but it's best. Poison 
as an antidote for poison you know." (gives brandy to patisnt and hands 
glass to 'Mrs. C.) "Ah, here is something I hadn't noticed before, a broken 
arm. That makes it worse than I thought at first. (goes to case and takes 
out bandage, etc.) I must have your assistance a, fev/ moments please." (to 
Clax.) — (they bandage arm and in doing so Clax. notices on right arm the 
tattoo of a cross around which are the words 'in hoc signo vinces.' 

Claxton: "Ah, look at this tattoo, let's see what it is. A cross with 
some letters around it. (reads) *in hoc signo vinces — by this sign you con- 
quer,' evidently a man of education and at one time a man of strong faith 
in God and His Son, but now — what a shame — what a shame." 

Dr. T.: (as patient stirs, rises from couch) "Be perfectly still now he 
is coming to and any excitement might throw him into delirium. Stand over 
here where he can see no one at first;." (all go to head of couch) 

Brown: (stirs at first, then sits up and looks around in a bewildered 
way) "Where am I — what is this place — where is the bunch — what's this 

1 have on ah, I see, a bandage — and I guess that means a broken arm — 

now where did I get that anyway — (thinks a moment) — now I remember, 
I got that in that street fight (gives a short bitter laugh) that fellow slipped 
up behind me and' hit me with a club — or was it a bottle — anyway it was a 
foul blow, for he struck me when I wasn't looking, (rises and staggers to 
center; feels of head with right hand) oh, how my head hurts, (looks around) 
Gee, I seem to have drifted into something swell here, now I wonder how I 
got here. Anyway I don't belong here so guess I'll — just — be — " (starts 
toward door.) 

Claxton: (stepping forward) "Wait a moment my friend, you musn't 
leave here now, you must lie down and rest. You are in the hands of friends 
and everything will be alright in the morning." 

Brown: (starts with surprise when Clax. speaks, looks at the rest 
a moment before speaking) "In the morning — yes that's what they all say, 



V 

in the morning', (sarcastic laugh) ha, ha, say my friend do you know thei't* 

is no such thing as morning Morning! — why morning is fresh and bright 

and happy, with dew on the grass and the sunshine to make it sparkle and 
glitter. And the little birds are singing their songs in the rose bushes whose 

boughs are bent with the weight of roses. And the perfume — ah, the sweet 

perfume of nature's life floats out upon the air, all around you, EVERY- 
WHERE, it fills the nostrils; it permeates the brain and one becomes as 
gay and as happy and as light hearted as the morning itself." (Note: all 
during this entire scene it will be more effective for Brown to stagger slight- 
ly and appear as weak as possible. It will be more in keeping with the 
natural actions of a man who has just been revived from an unconscious 
condition.) 

Claxton: "Yes, yes, that's what the morning is, that's — just what-it-is." 
Brown: "Yes, that's just what it is, but tell me who has ever SEEN 
the morning — not I. You tell me I will be alright in the morning, but you 
don't know what you say. Listen, there IS no morning for ME, there is 
nothing but night, (here Brown begins to appear slightly delirious and gradu- 
ally works himself up during the rest of this paragraph) just black, hideous, 
awful night, with the wind howling its icy blasts into the hearts of men 
into the souls of men, and they shiver — and it withers them — and they die, — ■ 
like the leaves of the oak when the icy hand of winter clinches its grip upon 
them — That's all there is for ME, night just like that, out there in the haunts 
of men where images of God sneak round with their heads bowed down in 
shame . And it's worse than that, yes ten thousand times worse than that, 
this night that is in my soul. YOU don't know what it is like for you speak 
of the morning. Listen and I'll tell you what it's like so you can keap away 
from it. (catches Clax. coat eagerly) Listen, it's in a pit — way down in the 
bottom of a deep pit and it's as black down there as ink. It's full of slime 
and filth and disease and sorrow that drifts in from the underworld on the 
tide of drink. And there are worms down there, long, slimy, squirming 
worms, and they twist their cold, slick bodies around your neck and they 
squeeze and squeeze tighter and tighter until you choke and struggle and 
gasp for breath; your face becomes black and your eyos pop out and you 
fall to the ground senseless and almost dead. And then they loosen their hold 
on you and they crawl off and look back at you with a thousand big red 
eyes that show in their depths the demo^is of ten thousand hells. Their 
bodies are as cold as ice and their breath is as hot as fire, and they blow that 
breath in your face and it suffocates you. They stick out long, forkea 
tongues at you, they brush your face with them and you shrink back in horror 
only to find a hundred more behind you — hissing, hissing, — always hissing, 

— Listen — don't you hear them h-z-z-z-z-z, — — h-z-z-z-z-z-God, what a 

horrible sound, and I have to listen to it all the time; every hour of the day 
and night. There is no escape from it. One day I DID almost get away, 
but when I got to the mouth of the pit and saw once more the sunshine of 
God's nature, and thought I was free again, the long bony fingers of tempta- 
tion, — I knew that was what they were for I could see written on one the 
name APPETITE and on another the name DESIRE and on another the 



name LOST MANHOOD,— these fingers reached out and clutched my heart 
and pulled me back again. And there, in the blackness of that pit and in 
the agony of despair I cried out for help but no help came — There IS no help. 
It's one long, unceasing, black, hopeless night, and it's — MINE — I have 
chosen it and it's mine." 

Dr. T. "Come brace up my friend you've got the mullygrubs, that's all 
there is the matter with you." 

Brown: "Ha, you think you know something don't you, but what do 
you know of LIFE here in this gilded cage? What do you know of MY life? 
I tell you there is nothing for me but the blackness and despair of the night." 

Clax.: (advancing and placing hand on B. shoulder) "Listen to ME my 
friend, you are wrong; there is a LIGHT that shines into that pit you speak 
of and it's there for the purpose of guiding those wretched images of God 
back into the sunshine. This light burst out upon the world two thousand 
years ago, from a cross with outstretched arms on a hill back there in old 
Jerusalem. My friend, let me show you that light, let me point it out to you." 
(piano back playing, 'Jesus Savior Pilot Me') 

Brown: "It's no use. I'm too deep in the pit, that light can never 
reach ME." 

Claxton: "Is that Grace playing?" (to Mrs. Clax.) 

Mrs. Clax.: "Yes, shall I stop her?" 

Claxton: "No, let her play on" (playing continues softly) 

Brown: "It's no us — no use — I'm too far gone, the demons down there 
in the pit hold me in their clutch, hypnotized and helpless. I am simply a 
puppet in their hands to be kicked about as they please; a pawn on the great 
checker-board of life to be moved hither and thither at their will. I have 
sold myself to the devil and I am his property. Why should YOU concern 
yourself about ME — why should that light you speak of seek to lure me away 
from my master? Tell me why — If there is such a thing as the God you 
speak of why does He permit a child of his to become a slave to His 
greatest enemy, the devil? Why does He permit a child of His, made in 
His own image to keep going down deeper and deeper until he reaches the 
very depths of hell that is ten thousand times worse than the one spoken of 
in eternity? No, YOU are the one that's wrong. There is nothing but night 
— cold — black, hideous, friendless night, with the wind howling as mourn- 
ful a wail as that of a lost soul on the borderland of eternity. You are wrong, 

there IS no light it's all a mistake there IS no light. (Grace sings 

'Jesus Savior Pilot Me' in back) Nohting but darkness — and — gloom — and 
cold. (Brown listens to singing, takes a few steps forward and then hangs 
his head) "GOD" (he throws up his right arm in an attitude or supplication 

and notices cross. He holds it so the audience can see it) "By this 

sign we CONQUER" (Lets his arm fall and staggers slowly to desk, 

falls into chair beside it and buries his head in his arm. His whole frame 
shakes with emotion.) 

Claxton: (advances slowly to B. and lays his hand on his head. Just 
as the singing ceases he says slowly and with emphasis) "The — sign — of — the 
cross — the — redemption — of — an — immortal — SOUL." 

SLOW CURTAIN 



ACT 1, SCENE 2 

Marie at desk; Amos at book case. Marie is arranging and dusting desk 
and Amos is arranging books. Amos looks at her several times, over hi^ 
back. Marie moves vase to other end of desk and Amos starts towards her. 

Amos: "Now what you move dat vase fer? Why don't you leave it 
where I done put it? (moves vase back to other end) Now, dat's where it 
b'longs, reckon I knows case I done been here longer dan Y'OU is." 

Marie: (making mock bow) "Oh very well zen, if ze monsieur Amos, 
ze much respected BLACK servant, ze much respected NEGRO servant of ze 
house wish it zen I suppose it must be so. (goes towards door) Bah, — jes 
because you are ze American and I am ze French you think you are ze great 
boss, (wipes feet on floor) Bah, I wipe my foot on you jes like zat, bah. 
(goes to door and turns) BAH! BAH! — (makes face and exit) 

Amos: (picking up duster Marie left on desk and following her to door) 
"Bah once more why don't you? Good thing you done bahed yourself outen 
here when you did, cause I don't 'low NOBODY to bah at me. (goes toward 
R. and whirls duster round his head) B-r-r-r-r-, I'se er bad niggar I is — you 
seen how quick she get out er here didn't you? (whirls aronnd again) 
B-r-r-r-r-, I DON'T 'LOW NOBODY TO BAH AT ME." (enter Mary Ann, 
Amos sees her and stops whirling suddenly and begins to dust middle of 
floor. (M. A. approaches A.) 

Mary Ann: (looking at Amos) "What you doing nigger, out dare dus- 
tin' up de middle er de flo'?" 

Amos (nervously) I'se jes trying to dus' up dis piece er paper, dat's; 
all. (speaks to imaginary paper) Come on up here — come on, come on up — 
what's de matter wid you." 

M. A.: What's de matter wid YOU you better say (looks at floor) 
Dare ain't no paper on dat flo'." 

Amos (looking all over floor) "Well sho 'nuff dare aint, is dare, now 
what you think er dat?" 

Mary Ann: "I think you'se loosin' your mind, dat's what I think 'bout 
it (goes towards desk, halfway she looks back and Amos jumps and starts 
as if to dust floor again. M. A. goes on to desk and sees vase) What you 
doin' wid de vase on dis end er de desk, don't you know it b'longs over here 
(sets it on other end of desk) 

Amos (approaching M. A.) "I bet dat friskerty Frenchman maid done 
move dat vase over dare, she's always er buttin' into something dat don't 
con-sarn her — (door bell rings outside) Dare goes dat bell ergin — dat makes 
de twenty-tooth time it done ring dis morning — (goes towards door) wonder 
who 'tis now." (exit) 

Mary Ann: (picks up duster and begins dusting around bottom of 
desk; finds bottle of brandy left there by the Dr. the night before, holds up 
bottle and looks at it) Now I wonder what dat is — some medicine the Dr, 



left here last night I reckon, (pulls out cork and smells of contents) Dat MAY 
be medicine but it sho' do smell like whiskey. I guess I'll jes put it in dis 
drawer where it will be out er de way, cause stuff like dat aint got no busi- 
ness layin' round loose nohow." (puts bottle in drawer of desk) 

(Enter Mrs. Wheezer first, then Deacon Wheezer followed by Amos 
Mrs. W. takes quick, short steps and holds her head well up; the deacon is 
a small man and when Mrs. W. isn't looking he shows an air of bravado which 
melts into submission when Mrs. W. looks at him) 

Mrs. W.: "It seems to me deakin', after all the years we have lived 
together and after the pains I have took to bring you up right that you 
WOULD learn to take your hat off in the presence of a lady." 

Deacon: (jumps and slips his glasses to the end of his nose, looks 
around quickly, sees M. A.) A lady — where (turns up nose at M. A. who 
makes a face at him) "Why Marthy there ain't nobody here but YOU." 

Mrs. W. (stamping her foot) 'DEAKIN" 

Deacon (nervously) "Er-er-that is er-you see I was just a fixin' to 
take it off when you spoke Marthy dear" (smiles sweetly at Mrs. W.) 

Mrs. W.: (shaking her finger at him) Don't you Marthy-dear me; I 
don't allow that even at home and you know it. (A. gigles and Mrs. W. turns 
to him fiercely) "Now what are you giggling at, you black shrimp. Go at once 
and tell the parson that Mrs. Deacon Wheezer and her husband are here 
to see him." 

(Exit Amos quickly followed by Mary Ann who turns at door and laughs) 

M. A.: "Mrs. Deakin Wheezer and her husban' " (exit) 

Mrs. W. "Now Deakin' Wheezer, sit down (deacon hesitates) Mrs. 

W. points to chair L.) Sit down" 

Deacon: "Er-er-really Marthy I don't think I — " (Mrs. W. points 
again, with emphasis) "Oh, certainly Marthy dear." (sits) 

Mrs. W. (shaking finger in Deacon's face) "Now listen to me you 
church toad, when the parson comes in I want you to sit there in that chair 
and keep your mouth shut and let ME do the talking, do you hear?" 

Deacon: "Well really now Marthy I'll (rises while talking but Mrs. 
W. shakes her finger at him and he falls back) not submit to any such treat- 
ment as this." 

Mrs. W.: "I said, DO YOU HEAR!" 

Deacon: "Very well then, anything to please you Marthy dear, — er- 
that is, I mean just Marthy." 

(Enter Claxton) 

Claxton: "Well, — Mrs. Wheezer, (shakes hands with her) and the 
Deacon too. (starts to Deacon and Deacon starts to rise but falls suddenly 
back in chair when Mrs. W. looks at him. Clax. smiles and shakes hands with 
Deacon) Now tell me to what good fortune do I owe the honor of this visit?" 

(The deacon cannot hold in any longer, he jumps up suddenly and slaps 
his hat on his head) 

Deacon: You see, its this way parson; I came over here, (Mrs. W. 
looks at him threatenly) er-er-that is — I mean WE came over here (Mrs. 
W. looks again) er-I mean SHE — Mrs. Wheezer my wife you know, came 



10 

over to protest against what I — we — SHE considers to be an imposition on 
the good people of the church, and I just came along with her" (the Deacon 
sits down as he is saying the last sentence, and says it meekly) 

Mrs. W.: "I came over parson to speak to you about t!ie drunkard you 
took in last night, and to protest against turning the parsonage into a 
drunkards rest. In MY opinion the parsonage is as sacred a place as the 
church itself, and if we are going to harbour drunkards and thieves and 
their like like in the parsonage, we might just as well turn the church into 
a dance hall and barroom. 

(Claxton rings bell on table) 

Claxton: "What a remarkable woman you are Mrs. Wheezer, won't 
you sit down (Mrs. W. sits) You have such wonderful imagination and fore- 
thought, (enter maid) Tell Mrs. Claxton and Miss Grace that the Dea — er, 
rather I should say Mrs. Deacon Wheezar, and her husband are here an.l 
I am sure that they would like to see them (exit maid) — and now Mrs. 
Wheezer, as I was saying, you are INDEED a remarkable v/oman." 

Mrs. W.: "Oh, thank you parson." 

Clax.: "Don't mention it Mrs. Wheezer, in fact you are so remarkable 
that I often wonder you could be satisfied with being simply a deacon's wife, 
(the deacon starts to rise in remonstrance but Mrs. W. shakes her finger 
at him and he collapses in the chair again) What a great evangelist you 
would have made, woman evangelist you know, you have such a deep under- 
standing of human nature and such a big, generous, charitable heart." 

Mrs. W. (rises and bows) "Oh, thank you parson" (sits) 

Clax.: "I am sure no sin would ever enter YOUR congregation." 

Mrs. W.: "No, indeed." 

Clax.: "Or drunkards." 

Mrs. W.: "Positively NO." 

Clax.: "Or thieves." 

Mrs. W.: "Certainly NOT." 

Deacon: "Nor the parsonage either Marthy, don't forget the parson- 
age" (the deacon starts to rise as he begins talking but when he sees his 
wife's finger he sits down as he finishes) 

(Enter Mrs. Claxton and Grace — pass to side of stage) 

Clax.: (turning to Mrs. Clax.) "My dear, Mrs. Wheezer has come over 
to protest against the practice of Christianity in the church. (Mrs. W. starts 
to rise but Clax motions her back) Please be seated Mrs. Wheezer I've a few 
words to say to you — and the deacon, but first I want to send for some one 
else, (rings for maid) Deacon, wont you have off your hat?" 

Deacon: "Er-yes-er-thank you" (removes hat) 

(Enter maid) 

Clax.: (to maid) "Ask Mr. Brown to come here a few moments if he 
will (exit maid) Now Mrs. Wheezer you say you came to protest against 
taking a drunkard in the parsonage, in turn I would like to ask you if yon 
remember what the Savior said concerning his mission here on earth, did 
He come to seek that which was lost or not? (Mrs. W. starts up again, Clax, 
motions her back) Just a moment please, you are like the rest of your kind. 



11 

in your own narrow mind and shriveled up soul you imagine yourself sancti- 
fied beyond even the judgment of God Himself, and with your little peanut 
brain you place yourself on a platform high above the mass of humanity that 
is struggling in the dark and crying out hopelessly for the light that you 
should give them. (Mrs. W. starts again, etc. Deacon appears very much 
elated — Mrs. W. shakes finger at him.) Sit still please. Instead of turning 
this drunkard out I have asked him to remain here as my secretary. If 1 
had as little faith in God and His power as YOU have I would probably have 
turned him out in the world again, just as you would have done, (enter 
Brown, steps just inside the door) Ah, Mr. Brown, have you decided to re- 
main here and fight the battle for your soul like a man or will you go back 
to that pit.?" 

Brown: (advances a few steps and looks at company. When he looks 
at Mrs. W. she turns up her nose and turns her back. He looks around 
until his eyes rest on Grace — for a long time) "I will STAY. From now on 
my life is in the hands of Him who gave it. From now on I am going — to — be 
a — MAN." (stamps foot as he says man.) 

CURTAIN 



12 



ACT TWO, SCENE ONE 

(Brown standing near center; Deacon seated R.; Grace seated on edg:2 
of desk facing Deacon.) 

Deacon: "As I was saying, Miss Grace I think my wife is entirely 
too bossy." 

Grace: (laughing) "Oh, well deacon perhaps she doesn't mean any- 
thing by it. Maybe she thinks the piller of the church would topple over 
and fall if it didn't have some kind of support to lean upon" . 

Brown: "Or perhaps deacon when she took upon herself the respon- 
sibilities of married life she also assumed the responsibility of conducting 
your soul safely thru the pearly gates. And then all of those little cor- 
rections and er — admonitions you know, which are in reality only the flut- 
tering of her wings, will cease and then there will be nothing but peace, 
sweet peace forever deacon." 

Grace :"Yes and then the fluttering of her wings will be changed into 
a softly cooing voice and she will buzz and coo around you, and pet you and 
humor, and THEN deacon I'll bet you will be mighty glad she was your 
spiritual guide here on earth.' 

Deacon: "It's no such thing, its pure old bossiness, that's what it is. 
I know that woman, I've lived with her for thirty years and I know her. Why 
the other day I was talking to some of my friends Mr. Brown, when along 
came that old woman Wheezer and told me it was time for me to go home 
and I told her I would go when I got ready, then what do you suppose she 
done, she deliberately caught me by the ear and marched me straight home. 
Why Miss Grace, I never was so humiliated before in all my life. If there 
are any wings buzzing round that woman I've never heard them, (rises) 
And what's more I'm not going to stand it much longer, I'm not going to 
stand it ANY longer, (picks up book from desk) I have just this moment de- 
cided to throw off the yoke she has placed upon my shoulders and be my 
own boss. Do you hear me, MY OWN BOSS (slams book on desk) Rsmo n 
ber, from now on I am a free man." 

Brown: (patting Deacon on back) "Bully for you deacon I alvays did 
like to see a man with lots of spunk." 

Deacon: (swells up with pride and struts around room) "What would 

you advise me to do Mr. Brown of course I am going to defy her — just like 

Ajax defied the lightning, but you see a little suggestion from you might 
come in handy." 

Grace: (standing and facing audience) "Oh, let ME tell you 
deacon. The next time she — well, catches you by the ear for instance, just 
set one foot ont in front of you like this — throw back you head like this — foil 
your arms like this — look her straight in the eys and say; WOMAN, I defy 
you to do your worst, you may take from me my poor little ear if you will, 
but as for me I will stay right here. Then go b-r-r-r-r-r- at her like that. 



13 

just like the villian in a melodrama you know. And deacon, if you'll do that 
I'll bet she will be afraid of you and will never bother yo i asjain,' (shakes 
her finger at deacon, as she speaks last sentence. All dur'ncj the paragraph 
the deacon follows Grace in her movements, and when she goes *b-r-r-r-r-' 
he jumps.) 

Deacon: "Yes, but suppose she SHOULD take my ear?" 

Brown: "Then deacon she would feel sorry for yoj and the result 
would be just the same." 

Grace: "Even at that deacon you would be no worse off with an ear 
gone than you are now without any backbone." 

Deacon: "But from now on Miss Grace I have a backbone, and it's for- 
tified with an iron will-power. I am going to show that woman how mean a 

nian can be when he wants to be even if he is a deacon. Now you watch 

me, the very next time she starts to boss me I am going to stand flat-footed 
and firm on my rights as a free bom American citizen and as a man and as 
the head of a family (Grace and Brown look at each othsr and laugh, deacon 
sees them) even if 'taint nobody but me and one woman. And I am going to 
clamp the bits in my mouth and when she starts to pull the reins she will 
find out that she's not pulling against the old deacon Wheezer that used to 
be, but a new deacon W., and he's a powerful man too — when he wants to be." 

Grace: "Oh, deacon, I think you are just grand when you talk like 
that — (noise outside) — but listen, there she comes now, — (shakes finger at 
deacon) — don't forget deacon, don't forget.' 

Mrs. Claxton: (outside) "Must you be going so soon Mrs. Wheezer?" 

Mrs. Wheezer: (coming in) "Yes, you see the deacon is not well of 
late and I must take him on home and give him his boiled milk — oh, deakin 
are you ready to go home?" 

Deacon: (faces audience and sticks out one foot) (aside) "No, I ain't. 

Mrs. W.: (louder) "I asked you deakin, if you ar^ ready to go home?" 

Deacon: (folding arms) "I'll not move a step" (aside) 

Mrs. W.: "Deacon Wheezer, are you deef ?" 

Grace: "Hold on to the bits deacon." 

Deacon: "I've got 'em." 

Mrs. W.: "Deakin I'll not speak to you another time, come home this 
minute or I'll take you by the ear and make you come." 

Grace: "Don't forget your backbone, deacon." 

Deacon: "I'll not budge an inch." 

Mrs. W.: "Deakin I am going now to put on my hat and by the time 
I return I shall expect you to be ready to go,' do you hear me?" (Mrs. W. 
stands and looks at the deacon a moment then exits) 

Mrs. Claxton: "Deacon, I am really sorry you must be going so soon." 

Deacon: "Yes, but I ain't a going." 

Mrs. W. (sticking head in at door) "Well deacon, I am waiting, (dea- 
con doesn't move) I am waiting deacon." 

Deacon: (stands hesitatingly a moment then slowly drops hands to 
side and walks meekly to door) "very well Marthy dear" (all laugh) (Deacon 
turns at door and says with emphasis "But remember, after this I am going 



14 

to be my own boss.) (exits) 

Grace: "Poor deacon, it must be terrible to be as henpecked as he is, 
don't you think so Mr. Brown?" 

Mrs. Claxton: "I am sure Mr. Brown is a stronger nian than the dea- 
con and strong men are never henpecked." 

Brown: "And good women are never hens. You see Mrs. Wheezer 
cannot be a good woman if she was she wouldn't be a hen (Mrs. C. and G. look 
shocked) Oh, I am not criticising the poor woman's morality, she is just an 
old clatterer and I suppose she can't help herself — of course she doesn't even 
suspect she is doing any harm, but like all other clattering tongues they — well 
the world would be better off if they didn't clatter so." 

Mrs. Clax.: "Why Mr. Brown, I didn't know you could be so bitter." 

Brown: "Not bitter, my dear Mrs. Clax., just common sense opinion." 

Grace: "And also you must remember mother, how bitterly Mrs. 
Wheezer opposed Mr. Brown when he first came here." 

Brown: "That has nothing to do with it (facing audience) when I came 
here six months ago I came from the gutter, since that time I have risen 
above that life — but even then, back there in those days that are forever 
gone, when I had as my companions, thieves and drunkards and murderers, 
I don't think even then I was quite as contemptible in the eyes of God as 
the owner of a lying, hypocritical, clattering tongue." 

Mrs. Clax.: "You are right Mr. Brown, and I only regret that the 
owners of the majority of those tongues belong to my sex." 

Grace: "Ah, but you mustn't forget those on the other side those 

women who make the sunshine for us, and they are the ones that are in the 
majority. Once I crossed the ocean and one dark day there came up a storm, 
the clouds grew black around us and the waves would roll up almost moun- 
tain high and break against the sides of the ship in a great rumbling noise 
like the sound of thunder. It was mighty disagreeable, it was dark and lone- 
some and dreary out there, but the good ship plowed on thru it. At last from 
over the rim of the bowl there shown a faint streak of light, it grew brighter 
and brighter until finally we crept from under the clouds which hid the sun 
from our view. And the thought came to me then that even if the clouds of 
discontent and discouragement should surround us, the sunshine of love and 
gentle influence is shinging brightly just over the *rim of the bowl.' Now 
Mrs. Claxton, that's what the GOOD women are here for, to make that 
sunshine for us. If there were no clatterers there would be no hens likewise 
if there were no good women there would be no sunshine, so we must thank 
God for the good ones and ignore the clattering ones.' 

Mrs. Claxton: "Oh well, at any rate I thank YOU for the compliment 
you pay us. It makes me feel that after all our mission here on earth might 
be worth something, (walks towards door) Now I must go and shed some 
sunshine in the kitchen for we must have something to eat you know, even 
while the sun shines." (exit) 

Brown: "Thank God for such woman as that." 

Grace: "Mr. Brown, I am sorry I spoke as I did awhile ago about Mrs. 
Wheezer and the first time you came here." 



15 

Brown: "But you mustn't be. Of course I know that Mrs. Wheezer 
and her kind always will be a stumbling block in the pathway of him who 
tried to do right; but when I think of Mrs. Wheezer as a stumbling block in 
MY pathway it almost makes me laugh . To think of any one as rattlebrained 
as she is being able to turn aside a man with a strong mind and a will power, 

Grace: "It does seem rediculous doesn't it?" 

Brown: "Miss Grace I want to tell you something. For six months I 
have been here in this house and a wonderful transformation has taken place 
within me. To me it has been like six months spent in a paradise, I no longer 

care for the things I used to care for — and I owe it all to you, and your 

father and your mother I shall never cease to thank you all for what you 
have done for me." 

Grace: "You mustn't try to thank us, our reward comes with the 
knowledge that we have made you happy." 

Brown: "It must be wonderful indeed to be able to do good have 

you over heard the story of the transplanted weed?" 

Grace: "No 1 don't think I ever have." 

Brown: "Then come, sit down and I will tell you about it. (Grace sits 
R. B. leans against desk) You see this story is a fairy story, but like a 
great many other fairy stories, it is not altogether impossible. Once upon a 
time there was a wicked old fairy and one day the was wandering around 
through a rose garden, and there, in the midst of it she spied a beautiful 
rose, as beautiful as any other rose in the entire garden, and when she saw 
it she was filled with envy — and envy is a very ugly thing you know. In her 
jealous old heart she decided to humble this rose, so she pulled forth her 
magic wand and waved it over the rose and it became a -.veed. Then she 
pulled it up out of the rose garden and carried it off to a swamp. And thers 
in the foul mud and filth of that swamp she transplanted it. It stayeJ 
there and by constantly inhaling the foul air and without the sunshine it 

finally became just like the other plants that by nature grew there Such 

things as that COULD be you know." 

Grace: "Yes, go on." 

Brown: "Well it stayed there a long, long time, so long in fact that 

it began to think it belonged there that is could not thrive in any other 

place. But one day a good man came through this swamp and found this 
weed growing there and pulled it up and took it away. This man wanted to 

make an experiment you see his idea was that by transplanting this weed 

into different soil and different atmosphere he could make something else 
out of it besides a weed. So he took it and put it in another rose garden, 
right — up — close beside the most beautiful rose that ever bloomed. At first 
the weed felt its humility for it said to itself; 'how ungainly and out of place 
I must look standing here by this beautiful rose. I suppose I will just go 
away for I have no right to be in such a place as this.' But the rose over- 
heard it and said: *No, you mustn't leave here for we are all your friends 
and if you will but lift up your head and look around you at the beauties 

of life you will soon be glad you stayed.' And so the weed decided to stay. 

And day by day it grew there by the side of the beautiful rose, and day by 



day it learned to love the rose. (Grace mbVGs) Oh, but it didn't TELL of 
its love, for it was only a weed you see, and KNEW it; and it would ba im- 
proper for a weed to make 'love to a rose And so it's growing there to- 
day— as the story goes — contented and happy by the side of that beau- 
tiful rose. And each morning as the sun rises in the east, and each evening 

yet, it dares not speak of its love because it is nothing — but a 

as it sets in the west, this weed loves this rose more than ever before And 

weed." 1 

- Grace: (after a moments pause) "But must it always be — a WEED?'' 

Brown: "Yes, I suppose so unless some GOOD fairy should come 

along and change it again.", 

Grace: "Oh, but it must not end with being simply a weed. Let me 

finish the story for you. One day a beautiful, good fairy, whose name was 

LOVE came strolling through that garden and seeing the weed there so out 

f place, said: *It isn't proper for a weed to bs in a rose garden, so she 

.vaved HER magic wand over it and it became a rose again.' " 

Brown: (looks at her a moment, then bends over her) "And when it 

DOES when this weed is again transformed into a rose then will 

it tell of its love." (Brown continues to bend over Grace until Claxton comes 
in and speaks, Brown jumps up suddenly and walks away.) 

Claxton: Ahem, (as he enters) Mr. Brown I wish you would please 
make a copy of this for me. (hands paper to B.) I must have it ready by 
tomorrow's mail." (goes back to case and looks at book) 

Grace: (rising) "Then father, if Mr. Brown is going to be busy I am 
sure he will excuse me (goes to B.) Tell the weed to watch for the good 
fairy whose name is love." (exit slowly) 

Brown: (stares straight ahead and repeats slowly) "Tell the weed to 
watch for the good fairy whose name is love." 

Claxton: (looking up) "What's that, did you speak to me?" 

Brown: "No sir, I was 1 was talking to myself." 

(Exit Claxton reading book) 

Brown: "Ah, if she only knew how earnestly the weed IS watching for 
the good fairy whose name is love But what right has a weed to even ex- 
pect such a thing ^for it can never be anything BUT a weed. Oh well, (sits 

dovni) I suppose it's an honor for a weed to be even in the presence of a 
rose." (goes to writing, looks in drawer of desk for somethmg and finds a 

bottle: smells of it and exclaims "Whiskey, now I wonder how that got 

here?" (lays bottle aside and resumes writing) picks up bottle again and 
starts to pull out cork then lays it down again) "No, I'll not do that" (goes 
on writing. Picks up bottle and looks at it a long time) Now I wonder if a 
little of that would hurt me it might settle my nerves for I am ner- 
vous surely just one little swallow of it, just one little tiny swallow of it 

wouldn't hurt me. For the sake of my nerves I believe I will take just 
one little swallow and then throw the bottle away and go on about my work, 
(raises bottle to lips and starts to drink, but hears a step outside and lowers 
it suddenly just as Grace sticks her head in the door) 

Grace: "Oh, Mr. Brown I am going to telephone my excuses to the 



17 

Temperance Society, for I can't go, and when I return will you please prac- 
tice our song with me, we are to sing it Sunday, you know." 

Brown: "Yes 1 will be waiting for you here." 

(exit Grace 

Brown: Temperance Society Oh well, I suppose that temperance 

societies are alright to keep young boys from learning to drink, or to cure 
weak minded men who haven't strength enough to cure themselves. But 

for a man like me now, (laughs) why if all men were like me there would 

be no need of such things as temperance societies, for I have proven beyond a 

doubt that I can control myself absolutely. Now just to convince myself 

further that I have control of myself — (holds up bottle) — I am going to take 

a drink and then let it alone 1 KNOW I can. (Holds bottle to lips) 

(lowers bottle) After all this is nothing more than an experiment — Mrs. Clax- 
ton said that I was a STRONG man, and just to prove that I am going to 
take a drink, (starts to drink again and lowers bottle once more) After all 

I am glad that I found this bottle it offers an excellent opportunity for 

me to try my strength, (he turns up bottle and drinks half of it) Ah that 

tastes good 1 don't see why anyone should want to abuse that stuff by 

making a hog of himself, (lays bottle aside and resumes writing) Now I can 
work, (writes awhile then looks at bottle and sighs) Now I'll make this test 

as strong as possible in fact I WANT to make it strong. I am positive 

that I haven't taken enough to prove anything. So I believe I'll take the 

rest of it The greater the obstacle overcome the greater the victory, you 

know now that's good sound logic, (turns up bottle and drinks the rest 

of it) Now then I can show my stmgth. (drops bottle on floor beside desk 

and writes again) 1 don't believe I have given myself as strong a test as 

I should in fact, I am SURE I haven't. Why there wasn't enough in 

that bottle to make a man even WANT a drink. I believe I will just slip out 
and get a small bottle and come back here and show myself just how strong 
I CAN be. Yes, that's what I'll do. Go out and get a bottle and bring it 
back here and drink some of it — half of it, throw the rest awav and go on 
about my work and thereby prove to myself ABSOLUTELY that I am a 
strong man and can control myself — - — and stop when I want to (starts to 

door, laughs) Yes that's what I'll do I'll play a trick on the devil this 

time. And I'll be back in plenty of time- to help Miss Grace practice that 
song." (exit) 

Grace: Heard outside after a long silence) "Oh Mr. Brown, I am ready 
now to practice our song." 

SLOW CURTAIN 



18 



ACT TWO, SCENE TWO 

(Midnight in the study; Grace is patiently pacing the floor; she rings 
the bell on table and presently Amos enters) 

Amos: "Did you ring for me, Miss Grace?" 

Grace: "Yes, have you seen Mr. Brown come in yet Amos?" 

Amos: "No'am I aint and I been lookin' for him too." 

Grace: "Well you needn't wait any longer for I am sure he is 

1 am sure he must be detained." 

(Grace walks slowly away from Amos with head bowed. Amos looks 
at her a moment then advances slowly.) 

Amos: "Is there anything de matter Miss Grace? is there anything 

I can do to help you?" 

Grace: "No Amos, there is nothing the matter." 

Amos: "Miss Grace dis afternoon I was er standing out dare in de 

hall jes er standing dare you know and I heard what he said about dat 

weed and dat rose dat sho was pretty talk wasn't it ^jes like what you 

used to read to me out er dem novel books Miss Grace, you reckon he is 

always going ter be jes er weed? 1 don't b'lieve it. Seems to me he done 

already turn to er rose he is so good an' kind 1 jes axed you Miss 

Grace cause I 'lowed I might be able to help you some way." 

(Grace remains silent and Amos goes slowly to door. When Amos 
reaches the door Grace speaks without looking up and Amos turns and 
haults a moment.) 

Grace: "No Amos, there is nothing you can do if I need you I 

shall let you know but now ther is nothing you can do." 

(Exit Amos) ... 

(Grace remains standing just a moment then goes to rocking chair 
and tries to read book. After trying she lays the book aside) 

Grace: "I wonder what can be keeping him he has never done this 

way before, and I am sure something dreadful must have happened to him 

Oh, I do wish he would come on (rises and goes to desk) I think I 

shall wait for him for somehow I feel that something has happened to him. 
(stumps toe on empty bottle that is lying on the floor, reaches over and picks 
it up; smells of it then lays it on the desk with exclamation) "Oh" (then she 
reaches over and turns down the light and goes back to chair) Yes I'll wait 
for him if I have to wait all night, (seated in the chair she leans back and 
closes her eyes in meditation) When the weed is again transformed into a 

rose THEN will it tell of its love after all I wonder if it will always be 

a weed there must be some way to stop him it must not be a weed al- 
ways he is too noble and kind and brave whether it be a wilful yield- 
ing to temptation or the result of an inherent weakness there surely MUST 

be SOME cure 1 wonder if my life could cure him 1 wonder if my 

my LOVE could cure him Ah. when h'^ snok'^ o-^ th'^ rose and the 



19 

weed he surely intended that I should understand what he meant, if he didn't 

why did he tell me? Where is the strength of manhood God gave him? 

is it possible after all that a rattle brain woman can turn aside a man 

with a strong mind is it possible that ANYTHING can. (rises) NO, I 

don't believe it 1 don't believe a man with a strong mind CAN be turned 

aside only the ones with weak minds become the slaves to drink. No one 

but a POOL would allow himself to stay in the gutter In the end strength 

is bound to triumph over weakness and manhood will assert itself, (sits) 

When the weed — becomes a rose ah, will that time ever be." (closes eyes 

and dreams. Noise outside. She jumps up and exclaims "OH" as Brown en- 
ters in a drunken condition. His tie undone and laying over his shoulder; 
his hat is set on the back of his head and he carries his coat over one arm. 
He staggers as he enters room and goes towards desk) 

Brown: "Hie gee'sh dark in here, hie guessh '11 turn up the light 

— —(turns light up) wonder hie, 'fi got here 'n time to help Mish Grash 

prac'sh shong, hie." (Grace drops book and Brown looks at her and tries to 
make a bow as he takes off his hat, but he almost falls on the floor in the 
attempt) 

Brown: "Beg pardon Mish Grash, hie. Didn't she you, hie." 

Grace: "How dare you come into my presence in such a condition?" 

Brown: "Well you she'ish like thish, hie: 'si was going down the street 
I met a man, hie, old fren mine 'n he ash me *t go home 'sim an' set, hie, up. 
you shee he was shick, hie, very shick and he needed s'body to shet up, hie, 
s'nuf he did, and I, hie, went. Got here just's quick's, hie, could sho we could 
pratch that shong, hie." 

Grace: "Oh, don't talk to me don't tell me anything about it, you 

only make matters worse go to your room and go to bed, I don't want you 

around me don't try to offer any explanations just go to your room 

and I will see you in the morning PLEASE go." 

Brown: (going towards door) "Oh, very — hie — I'll be back in a few 
minutes and we'll praeth at shong." (exit) 

Grace: "Oh, God, why did he do it why DID he do it?" (falls in 

chair and cries) 

SLOW CURTAIN 



20 



ACT THREE 

(Grace on couch reading; Claxton in chair U. L.; Mrs. Claxton in chair 
U. R. sewing; Dr. Thurston in chair D. R.) 

Dr: "So you are satisfied you have succeeded with your experiment?" 

Claxton: "Oh don't call it an experiment, at least 1 don't class it as 
such. But as to the results I am satisfied that Christianity, kindness and 
love are the three factors necessary in the redemption of a man whom the 
world calls lost. You can see for yourself, when he came here he came from 
the gutter, now he holds his head as high as anyone and is absolutely honest 
and trustworthy." 

Doctor: "I am satisfied you are right, but as a matter of fact it all 
depends upon the condition of a man's mind. If the mind is normal and 
thru the power of some influence which is abnormal the normal mind follows 
the influence it doesn't necessarilly become abnormal because the influence 
is. As proof we find that when the same mind that has wandered off comes 
in contact with a norm.al influence again, it goes back to its normal state." 

Mrs. Claxton: "And do you believe it is possible for a mind that is 
originally abnormal to become normal thru what you term normal influence ? 
in other words, do you think you could take a child with a depraved mind, 
and, by bringing it up in entirely different surroundings, could change its 
mind to a normal condition?" 

Dr.: "No, I don't think such a thing is possible. The influence of the 
sunshine on water you know makes the water warm just like the sunshine 
is. But you let the sun shed its rays on a block of ice and it doesn't warm 
it one bit. As long as there is any ice left it is just as cold as it ever was 
That is because the ice is of a nature entirely alien to that of the sun, and 
therefore the sun has no influence on it." 

Grace: "I think you are wrong there doctor, for the sun turns the ice 
back into water which was its original state." 

Doctor: "That's a pretty good argument Miss Grace, but it only brings 
us back to our first argument, that of the normal mind which has wandered 
off coming back into its natural state thru normal influence. Scientific in- 
vestigation has proved that no SUBSTANCE can be entirely changed; you 
can take several substances and put them together and produce something 
else but those several substances still retain their original bodies. Mr. 
Brown's mind was originally normal, it became mixed with other substances 
but his MIND was still the same. It could never have been abnormal or it 
couldn't be normal now." 

Claxton: "That reminds me of a story I once heard about a man who 
tried to make a turnip out of a croquet ball. He planted the ball in the 
richest soil he could find, along with some turnips and cultivated it same as 
he did the turnips but when he came to dig it up he found that it was still 
nothing but a croquet ball." 



21 

Doctor : ''That's it, and all the cultivation in the woHd could never 
have made it anything but a croquet ball." 

(Enter Amos) 

Amos: "Here's de deakin' an' his er, here's Mrs. Deakin' an her 

husban* " 

Mrs. Claxton: "Alright Amos, tell them to come on in." 

Dr.: "Now Mrs. Wheezer is a living example of that croquet ball you 
Spoke of." 

Claxton: "Ha, ha, well I wouldn't say that bit I WILL admit that 

Mrs. Wheezer is a problem." 

Mrs. Wheezer: (outside) "Now deakin you stay right there till I tell 
you yOu can come in (enter) You people must excuse me for leaving the 
deakin' out in the hall but you see as we were coming thru the gate — the 
deakin is SO much like a little boy you know, — but as I was saying as we 
were coming thru the gate the deakin caught his trousers on a nail and tore 
them dreadfully and I want to ask the parson if he will loan him a pair of his'* 

Mrs. Claxton: "How unfortunate." 

Claxton: "Certainly, (rings bell) have a seat Mrs. Wheezer and I will 
help the deacon out of his predicament in just a moment." 

Mrs. W. (sitting in Clax. chair) "The older the deakin gets the big- 
ger fool he is." 

Mrs. Claxton: "Perhaps the exuberance of youth is still flowing in his 
v^eins and he couldn't help tearing his trousers any more than a boy could." 

(Enter Maid) 

Claxton: "Tell Amos to get a pair of my trousers for the deacon and 
help him put them on." 

Marie: "Trousers 1 don't understand. I see ze deacon out in ze hall 

an' he have on some trousers." 

Mrs. Claxton: "Yes Marie, but the trousers the deacon has on are toiii" 

Marie: "Oh, very well zen, if zat is ze case zen ze monsier deacon 
he need some more." (exit) 

Doctor: (looking at watch) "And it's time for me to be going ( rises "> 
Mrs. Wheezer, I understand that your society for the prevention of cruelty 
to canary birds is doing a great work." 

Mrs. Wheezer: "Yes, we are doing the best we can. We believe the 
time has come when brutality to all of the lower order of animals must be 
suppressed. And in my opinion the canary bird is the most abused of them 
all. Later on we intend to enlarge our scope of work and adopt a plan where- 
by we can protect rats and mice from such brutal murder we intend to 

make it a penalty to poison them without first giving them a chance for 
their lives. We propose to force people, when they put out rough on rats 
to also place beside it a piece of unpoisoned food and let the rat choose which 
one he wants. If he chooses the poisoned food he has no one to blame but 
himself, (all laugh) Oh, we believe in fairness to everything." 

Doctor: "That is indeed an admirable plan, but I have one objection 
to it, if the rat SHOULD choose the poisoned food then he would have com- 
mitted suicide, and woe be unto a suicide you know, (turns to Mrs. Clax) 



22 

Mrs. Thurston is expecting you to pay her that call you owe her, and you 
too Miss Grace, you know she thinks there is no one quite like you:" 

Grace: "Thank you doctor, and tell her that I thank her too." 

Dr.: "Well, so long to all of you (goes to door and turns) Mrs. Wheez- 
er, in order to make the murder of those poor little mice still less brutal per- 
haps I could be of assistance to you, for instance, I might be able to invent 
a medicine which, when they eat it, would tickle them to death." (exit) 

Mrs. W. "I never did think that doctor had MUCH sense." 

Deacon: (outside) "I tell you 1*11 not submit to any such treatment as 

this it's a disgrace to dress a man up in such trousers as these, they are 

big enough for Taft? 

Amos: (pushing the deacon in) "I can't help dat, marse John he say 
to put 'em on you and dat's what I done done." (deacon enters and stands a 
moment." 

Deacon: "Marthy, you come home with me this instant, I positively 
refuse to stand here any longer and be made the laughing stock of all these 
people." 

Mrs. Wheezer: "Well, why don't you sit down then?" 

Deacon: "I tell you I refuse to stand (Mrs. W. points finger at him) 

I'll not Oh, very well then Marthy dear." (sits) 

Mrs. Claxton: "Amos you and Mary Ann prepare some refreshments." 

Amos: "Yes'm, what you all gwine ter have?" 

Claxton: "Yes, what will you have deacon, some tea?" 

Deacon: "Yes some tea if you please, (Mrs. W. looks at him) Er that 
is, I don't believe I drink tea do I marthy dear?" 

Mrs. Wheezer: "The deakin drinks nothing but water, and milk." 

Amos: (going out) "Yes'm jes some water an' milk wonder if he 

wants *em mix iip." 

Mrs. W.: "But for ME you can prepare some tea— — X always drink 
it but I never allow the deakin* to touch it, he has such a puny constitution 
you know." (exit Amos) 

Claxton: "If you will excuse the deacon and me we will go into my 
library a few minutes before the refreshments, I wish to discuss with him 
some matters pertaining to the church." 

Mrs. Wheezer: "And may I go too, I take SUCH an interest in ALL 
matters pertaining to the church?" 

Claxton: "I don't think we shall really need you this time Mrs Wheezer, 
come deacon." (both exit, deacon laughing) 

Mrs. W.: "Do you know Mrs. Claxton, I sometimes think the deakin 
is entirely too fresh when I take him out in company." 

Grace: "That's because the deacon is SO much like a little boy you 
know.** 

Mrs. W.: "It ain*t that so much, the deakin just naturally aint got 
much sense. I don*t know what would become of him if it wasn't for me." 

Mrs. Claxton: "I suppose you must be a great help to the deacon for it 
must be a great task for him to run the affairs of the church." 

Mrs. W.: "He couldn*t do it without me, that*s all there is to it. Why 



23 

if it wasn't for me the deakin would be just like a chicken with its head cut 
off. Why one time a long^ time ago, well it hasn't been such a long time 
either since I come to think about it, anyway it was a short time ago, when 
I was young, and me and the deakin hadn't been married long and was living 
out on the farm, there come out there one day one of these swell city dudes 
all dressed up in a high standing collar and patent leather slippers and had his 
hair parted in the middle and slicked down on both sides like he had mucilage 
on it, and he walked up to the deakin, you know they always go to the one 
that looks easiest, he started to come to me but I just looked at him right 
straight and he went to the deakin. He stuck out his hand and smacked 
his lips in a sort of pious way and said 'you are Brother Wheezer I believe?' 
Now that was long before the deakin ever got to be a deakin, but it pleased 
him mightily just the same to be called brother. You know all you have to do 
to get anything you want out of some people is just to flatter them a little. 
Well he patted the deakin on the back and told him how grand and good it 
was to belong to the great brotherhood of Christians and be called a child 
of God, and it wasn't long before I could see that he had the deakin hooked 
fast and tight. I didn't say anything but I stayed around close enough to 
hear what was going on. He told the deakin that he was representing some 
kind of church building committtee or something like that and that they were 
going to build a church in town big enough to hold everybody within ten miles 
of it. He pulled out some papers of some kind which he said was recom- 
mendations from preachers, that made the deakin's eyes open as wide as 
two saucers. He said all they wanted out of each one of the brethren was 
just five dollars. And do you know, the deakin was just about to hand it 
over too when I stopped him. I didn't do a thing but catch that dude by the 
ear and march him straight off the place and tell him to never put his fool 
on it again, and he didn't. Well I could see that the deakin wasn't fit to run 
a family and so I just took charge myself. And ever since then I have done 
the best I could by the deakin, seeing as how I had got myself into it by mar- 
rying him. And that is the reason I say I don't know what would become 
of him if it wasn't for me." 

Grace: "I think the deacon was very lucky indeed to get you for his 
manager, Mrs. Wheezer." 

Mrs. W.: *'Yes, I think so myself." 

(Enter Amos) 

Amos: "De 'freshments am ready, mam." 
(All rise and start to door) 

Mrs. Wheezer: "Please let's hurry then, for the deacon, if I don't get 
there first, will drink some tea in spite of all I have said and done." (exit) 

Amos: (going to desk and arranging things) "Dat woman sho can 

talk, an' she don't say nothin' neither No wonder she's tired an' thirsty 

after all de talkin' she done done." 

(Enter Mary Ann with bottle of communion wine 

Mary Ann: "Here some community wine for de deakin to take home 
wid him. (starts to hand the bottle to Amos, but Amos grabs at it so eagerly 
that she quickly draws it back) "I guess you better jes leave dat erlone. 



24 

Wine's wine even if *tis community wine, and you ain't no temperance s'ciety 
president yourself.' (goes to book case and puts bottle on it) 

Amos: "Say Mary Ann, do you know dat dog down at de deakin's?" 

Mary Ann: "Course I knows dat dog down at de deakin's, ain't I done 
help Mrs. Deakin raise him and teach him how to act." 

Amos: "Well he sho do show it." 

Mary Ann: "He sho do show what, what you talking 'bout?" 

Amos: "Show dat you and Mrs. Deakin done teach him how to act, dat's; 
de meanest dog I ever seed." 

Mary Ann: "Look here nigger, don't you talk to me like dat. Don't 
you know dat dis is de time when de women is gwine to rule de men. An* 
it tain't gwine ter be long either 'fore women is gwine to get dare suffering 
too, I heard Mrs. Deakin say so herself." 

Amos: "Well, dat ain't got nuffin to do wid dat dog as I can see. De 
odder day as I was coming by dare dat dog run out at me jes like he gwine 
eat me up. I tried to shoo him off but he sho was true to his trainin, he jes 
like you an' Mrs. deakin both, he jes wouldn't shoo. An' de fust thing I 
knowed he done clum ober dat fence an' wus er comin' right at me." 

M. A.: (laughing) "Den what you do?" 

Amos: "What I do, what you reckon I gwine ter do stan' dare an' 

let dat dog eat me up. I jes tore out down de street dat's what I done, 
an' dat dog right behind me — he — yes suh — dat sho was some race we went 
down dat street jes nip and tuck." 

Mary Ann: "What you mean 'bout nip and tuck?" 

Amos: "Don't you know what nip and tuck means?" 

Mary Ann: "Naw, what does it mean?" 

Amos: "It means dat dat dog nipped at my breeches an' tuck 'bout 
half er dem, dat's what it means." 

(Mary Ann throws book at Amos — Amos dodges behind desk.) 
(Enter Deacon) (Exit Mary Ann) 

Deacon: "That reminds me of home — now I wonder if all races of 
women are the same." 

Amos: "Dey may be fer all all I knows — anyhow I sho ain't going ter 
ever marry another one I don't kere what color she is." 

Deacon: (picking up bottle of wine) "What's this?' 

Amos: "Dats some er dat communing wine for you to take home wid 
you." 

Deacon: "Then I'll just take charge of it (pulls out cork and smells) 

whew (looks at Amos) I think the parson wants to see you in the dining 

room." 

Amos: "Wants to see me?" (Amos starts toward door) 

Deacon: "Yes, I think he wants you you to er — to straighten up the 
library." 

Amos: "I done jes straightened dat up." (turns back into room) 

Decon: "Is that so — then perhaps I am mistaken — since I come to 
think about it, it was an errand he wanted you run, or something like that." 

Amos (going toward door) "Lavir me den, why didn't he ring de bell?" 



25 

(Exit Amos) 

Deacon: (business with bottle, smacks lips over it and then drinks some 
—enter Mrs. W. — Mrs. Clax. and Clax. Deacon tries to hide bottle) 

Claxton: "What have you there deacon, ah, I see, some communion 
wine?" 

Deacon: "Yes, yes, that's it just some communion wine, you see I 
was just smelling of it to see if it was fermented." 

Mrs. Claxton: "I am sure the deacon doesn't DRINK wine." 

Mrs. Wheezer: "If he does, he'd better not let ME catch him." 

Decon: "Oh, no certainly not I don't drink anything but water — and 
milk, do I Marthy dear?" 

Mrs. Wheezer: "Let ME see that bottle (holds bottle up) I don't know 
whether it has been fermenting any or not but from the looks of it I am 
sure it has been evaporating (looks at deacon) I guess you had better go 
home." (exit deacon followed by Mrs. W.) 

Claxton: "I am worried about Brown, have you seen anything of him 
today?" 

Mrs. Claxton: "No I haven't seen him since yesterday afternoon." 

Claxton: "I wish you would please send Grace to me I wish to talk to 
her a few moments." 

Mrs. Claxton: "Do you think she knows anything aboat him?" 

Claxton: "I don't know, I want to ask her." 

Mrs. Claxton: "John have you ever noticed anything between them? 
Has it ever occurred to you that they might regard each other as something- 
more than mere friends?" 

Claxton: "Nonsense, they are just good friends that's all. Why Grace 
is nothing but a child — Brown is old enough to be her father, and besides he 
is too much of gentelman to take advantage of any girlish idea and notion 
of love that she might show." 

Mrs. Claxton: "I hope you are right, but such things HAVE happened 
you know. Anyway I'll send her to you." (exit) 

Claxton: "Why the idea of that little girl falling in love — but she is 
getting to be almost a woman. It doesn't seem like she has been with us 
long, but it has been twelve years — and when we took her from that orphan 
asylum she was only five, let's see — that would make her seventeen, and at 
seventeen I expect they do begin to think about marrying." 

(Enter Grace) 

Grace: "Do you want me father?" 

Claxton: "Yes, did you see Mr. Brown last night Grace?" 

Grace: "Yes, — I — saw him." 

Claxton: "At what time?" 

Grace: "It was — it was — I don't remember just what time it was." 

Claxton: "I haven't seen him today, and that is the reason I asked you" 

Grace: "I haven't seen him — today — I don't know — where he is." 

Claxton: "It seems strange that no one has seen him 1 wonder if 

he is sick was he sick when you saw him last night?" 

Grace: "He he 1 don't think Mr. Brown was quite himself 



26 

last night." 

Claxton: "Then I will go and see about him (starts out) 

Grace: "Wait father, don't do that, I am sure he — he — will be — al- 
right before long." 

Claxton: "Oh well, I'll just go and investigate — he might need help." 

Grace: "Wait a moment father — please don't go just now — I am sure — 
I think probably Mr. Brown is just indisposed and doesn't care to come down" 

Claxton: "What is the matter child — is anything wrong — have you 
done something you don't want to tell me about?" 

Grace: "No father — I have done nothing, you — you — ." 

Claxton: "Tell me what is troubling you child — you have always told 
your father everything and I have always helped you haven't I?" 

Grace: "Yes, you are so good — but just now you mustn't ask me — I 
can't tell you anything — just now — some other time I will — but now — I feel 
everything will be alright before long — promise me dad that you will not go 
to Mr. Brown's room — right now — promise me — that's a good dad — you will 
promise me won't you? — I knew you would." 

Claxton: "Oh, alright, but I don't understand ." 

Grace: (putting her hand to C's mouth) "Hush you mustn't say any 
more — you will understand when I tell you about it — now you must go into 
the library for I am sure you want to do some reading — don't you ? Come 
on now — that's a dear good Dad — I knew you would." (leads him to door.) 

Claxton: "You little vixen, who could resist you — I'll go but don't you 
worry yourself — do you hear?" (exit) 

Grace (walking) "Six months I have been in this house and to me it 
has been like six months spent in paradise — I no longer care for the things T 
used to care for' — I believe he meant that when he said it — I am sure he did 
— I wonder if he knows what love is — surely not, for if he does he couldn't 
have done it — strength of manhood is founded upon love, nourished and sus- 
tained by love — if he feels within his heart the love I read in his eyes he 
could not have done this thing — where is the man who can love and at the 
same time continue to drink against the wishes of the one he loves — no, if 
he drinks it is not love, because love is greater than any other passion — any 
other desire that ever filled the heart of man." (enter Brown with suit case) 

Brown: "Pardon me Miss Grace but I overheard what you just said and 

you are right of all emotion that ever thrilled the heart of man in life or 

in death, love is the greatest 1 had hoped I wouldn't meet you here this 

morning 1 wanted to spare myself the pain and anguish of parting." 

Grace: "Parting you don't mean you ." 

Brown: "Yes, I am going away — since last night I can no longer re- 
main in your society — I have disgraced myself and the only apology I can 
offer you is to leave your presence forever." 

Grace: "Why do you think you should go? — do you think you could 
benefit yourself any by going?" 

Brown: "No, nothing can benefit me, but by going I can take from your 
presence a life that must be an abomination in your eyes." 

Grace: "No life is an abomination that tries to do right — only those 



27 

who don't try are worthless — surely your efforts are not going to be in vain — 
just because you fell last night are you going to cease to struggle?" 

Brown: "Not because of that, but because my struggling is useless — 
when the eagle pounces upon a weaker bird and sinks its talons deep in the 
flesh it is useless for that weaker bird to struggle — how foolish it would be 
for a piece of iron in a vice to try to free itself of its own accord, and yet I 
am as helpless as they, the vice that holds me is as strong as the vice that 
holds the iron, and like the iron it is as useless for me to struggle." 

Grace: "But some other hand can loosen that vice." 

Brown: "None has ever loosened the one that holds me. No you are 
mistaken, there is no hand to loosen it, and I must go — I hear the demons 
down there in that pit calling me and I am powerless to resist their call. 
Before I go I want to ask you to not think too badly of me, please try to be- 
lieve me when I say that I want to do right but I can't — something is missing 
in my makeup and it's that part of me that is called MAN — that's the reason 
that it is useless for me to struggle." 

Grace: "But you mustn't give up this way — perhaps one more effort 
— one more struggle would free you from the vice." 

Brown: No I can't make one single effort nor another struggle of my 
own accord — I haven't the strength to even try — (holds out hand) good bye." 

Grace: "Mr. Brown, I can't let you go like this, it would mean your 
eternal ruin — you say you can't make the struggle alone — could you make it 
with some one to help you — don't think me bold for saying this but I must 
say it — it's the last resort, and I mustn't let convention stand between you 
and your redemption — if you can't make it by yourself let me make it with 
you — do you think — my life, my^love could be a factor in regaining your 
lost manhood — forgive me for saying it but I can't let you go back into that 
dreadful world that you came from." 

Brown: "Linten to me, little girl, you mustn't talk to me like that — 
not because it's wrong for you to say it, but because it's wrong for me to 
listen — nothing you might do would be wrong, for your life is as pure and un- 
spotted as the snow that has just fallen from the skies, but for me to listen 
to you — to even be near you is a sacrilege, I've tried to live down my past 
but it's no use — I've loved you — yes I've loved you my little rose, but the 
weed must not tell the rose of its love — but I am going to tell you of my past 
life so you can know what manner of man I am." 

Grace: "But I don't care anything about your past life, I want to help 
make your future life — whatever you might have been belongs to the past — 
you are good and noble and true now, only you are weak, but you are going 
to be strong and manly like God intended you to be." 

Brown: "Even if you don't want to know anything about my past, you 
must listen and let me tell you, you are entitled to know — Drink is not the 
only curse I have on my soul — there is a blacker one — the curse of crime. 
When I started out in life I was a young and prosperous business man. I 
met and married one of God's noblest creatures — a beautiful and good woman 
— and we were happy — as happy as it is possible for two beings to be, until 
I joined a certain fashionable club and then I learned to drink — my wife 



28 

beg-g-ed me to stop and I only laughed at her telling her that I was entirely 
too intelligent to let drink get the upper hand of me — and I was fool enough 
not to notice it — I kept getting worse and worse until finally — my business 
failed — I borrowed money from my friends — I pawned all of my own and my 
wife's jewels, and finally the household furniture itself — but I had forgotten 
to tell you about the greatest joy that ever came to my life — it was a baby 
girl, and all of this happened when she was five years old — one awful night 
I came in drunk and found my wife weeping, I found fault with her and she 

reproved me and then — I struck her — Oh, God, can I never blot from my 

memory the scenes of that night, — she fell to the floor and I, in my drunken 
brutality stood above her and cursed he (G. falls on table and begins to sob) 
my own child — my own baby girl fell down beside bar mother and looked up 
at me with eyes of scorn and said 'you are a bad man I don't want you for my 
papa anymore.' And then in a kind of dazed, foolish, senseless way I tried to 
revive my wife but when I knelt over her and called her name there was no 
response — my God — she was — DEAD— and I had killed her. They arrested 
me and tried me and I was sentenced to life imprisonment, but a higher 
court reversed the decision and I was given my freedom on the grounds that 
I was insane at the time of the commission of the crime — I went back to look 
for my daughter but the neighbors told me that she had been taken in by 
some charitable society, and when I inquired there they told me that she had 
been adopted by a preacher and his wife. And I decided to let her stay 
there. From then on I went deeper and deeper in the pit, and. for twelve 
long years I wallowed there, until your father pulled me out of it — for a little 
while — now can you see why I must go back — I belong there — (walks towards 
door and then turns) Good bye." (starts out with bowed head) 

Grace: (rising) "Wait a moment please, I have something to tell you, 
you have never known it but these good people here, this pracher and his 
wife, are not my own parents. They adopted me when I was a child, and it 
is of that that I wish to speak — I too can remember a home in the long ago 
with a beautiful mother and a good father — and also I can remember when 
that father started to drink — that father came in one night drunk and struck 
my mama — and — she died. They took me away to an orphan asylum and 
from there I was adopted by these people. They have been as good as any 
girl's own father and mother could possibly be, but somehow they are not 
exactly the same. For a long time I hated my father more than anything 
else on earth — but now — now — I only pity him — for the past there is no long- 
er the bitterness I used to feel — only regret — ." 

Brown: "Listen child — do you know who I am?" 

Grace: "Yes, you are — my — father." 

Brown: (looks at Grace a long time and then catches her hands) "Sure- 
ly there is a God — and surely there is a light — I see it now — my redemption 
I owe to God for he has given back to me the child that I deserted so long 
ago — henceforth I am going to be to her the father I SHOULD have been 
— the wanderer you see before you has turned again — HOME " 

CURTAIN 



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